Ink in Motion. A History of 20th-Century Chinese Painting.
Paris museums, Cernuschi museum| N° d'inventaire | 26207 |
| Format | 21 x 30 |
| Détails | 256 p., numerous illustrations, paperback. |
| Publication | Paris 2022 |
| Etat | Nine |
| ISBN | 9782759605378 |
This book traces the history of Chinese painting in the 20th century through a chronological and thematic journey. Originating from the literary arts of calligraphy and seal engraving, defined by the use of ink, paper, and silk, Chinese painting at the beginning of the century soon reinvented itself. Echoing political and social changes (from the end of the empire in 1911 to the People's Republic of 1949), it underwent profound transformations as it confronted Western practices, such as oil painting and drawing.
Chinese painters turned particularly to Japan and France during the first half of the century, then to the Soviet Union in the 1950s. From the 1980s onwards, exchanges, to which artists from the diaspora contributed, extended from Asia to America, not forgetting Europe. Throughout the century, the artistic debate, which embraced questions of national painting, political commitment, realism and abstraction, was marked by this intercultural dialogue.
With its rich iconography – the Cernuschi Museum's collection is one of the few to preserve paintings by artists active in China as well as those of major figures from the diaspora – this work provides an insight into a century of unprecedented artistic movements and creation.
This book traces the history of Chinese painting in the 20th century through a chronological and thematic journey. Originating from the literary arts of calligraphy and seal engraving, defined by the use of ink, paper, and silk, Chinese painting at the beginning of the century soon reinvented itself. Echoing political and social changes (from the end of the empire in 1911 to the People's Republic of 1949), it underwent profound transformations as it confronted Western practices, such as oil painting and drawing.
Chinese painters turned particularly to Japan and France during the first half of the century, then to the Soviet Union in the 1950s. From the 1980s onwards, exchanges, to which artists from the diaspora contributed, extended from Asia to America, not forgetting Europe. Throughout the century, the artistic debate, which embraced questions of national painting, political commitment, realism and abstraction, was marked by this intercultural dialogue.
With its rich iconography – the Cernuschi Museum's collection is one of the few to preserve paintings by artists active in China as well as those of major figures from the diaspora – this work provides an insight into a century of unprecedented artistic movements and creation.